I could draw Bloom County with my nose and pay my cleaning lady to write it, and I'd bet I wouldn't lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.

Keep in mind that in 1985, I had a potential readership of over 50 million Americans. At that time, a good portion of those were under 30.

My kids hear me behind my door, giggling like an idiot, and they roll their eyes at the blatant indignity of it all.

The cartooning was always just an abstraction. It was an income. It was making me famous. It was allowing me to go and do other things that I'd wanted to do.

I'd be a Libertarian, if they weren't all a bunch of tax-dodging professional whiners.

Some of us find our lives abridged even before the paperback comes out.

The digital world has allowed me a connection with my reader that I'd never had before. I didn't meet the people who read my material. The fan letters were mostly answered by professional people that'd done them for a living. And I didn't have any daily connection with their response to my work. I didn't have a relationship with my audience. And every artist should have it.